Using Lisa Guerrero's 2009 article “Can the Subaltern Shop? The Commodification of Difference in the Bratz Dolls” as a framework, Carrie and Ellie discuss MGA Entertainment's introduction of the Bratz line in 2001 and the alternative vision of femininity and style it offered young girls in the new millennium. Guerrero explores four spaces of critical inquiry: the Bratz' paradoxical investment in racial identities, gender and sexuality politics, the influence of consumerism/commodity culture, and the "street cred" culture that provided white suburban girls a "tourist opportunity of the urban imaginary space." The sisters also contextualize the Bratz line within the y2k emphasis on multiculturalism and the specious understanding of America as a "post-racial society" in the late 20th century. Other topics include the McBling aesthetic, the "browning of America," and (as always) neoliberal postfeminism. Works cited include Danzy Senna's 1998 piece "Mulatto Millennium," Michele Elam's 2011 work The Souls of Mixed Folk: Race, Politics, and Aesthetics in the New Millennium, Molly Rosner's Playing with History: American Identities and Children’s Consumer Culture (2021), Walter Johnson's 1996 article “The Strange Story of Alexina Morrison: Race, Sex, and Resistance in Antebellum Louisiana” as well as his 1999 book Soul by Soul: Life Inside the Antebellum Slave Market, and (just barely!) Jill Lepore's 2018 piece in the New Yorker, "Valley of the Dolls: Barbie, Bratz, and the end of originality." Passing narrative films Carrie mentioned were Showboat (1936, 1951), Pinky (1949), and Imitation of Life (1934, 1959).